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Echocord sub-label Echo Echo continues this July with Orbite's 'Interstellar' EP, a threetracker from the Berlin- based producer. Orbite is a brand new project founded in Berlin, Germany with a nod towards the raw, dubby sounds often heard across the clubs in the city, and where better to inaugurate things than the recently launched sub-label of Copenhagen's Echocord, one of the leading imprints in the realms of Dub Techno, home to pioneering acts like Rod Modell/Deepchord, Pole and Fluxion who have paved the way for Orbite's own twist on the genre. The ethereal pad textures of 'Skylar' lead on the package, deftly evolving alongside bubbling synth tones, swelling chords and shuffled percussion to create a create dynamically unfolding six and a half minute cut. 'Moment' follows, edging things further into dubbed-out territories with heavily delayed dub echoes and mesmeric spoken word poetry intertwining to create a, hypnotic beatless soundscape. 'Organi' closes the record with emotive, billowing pads, warm bell like tones and vocal murmurs running alongside swinging shakers and stripped-back micro-house percussion.

* "Of all the dubplates in my bag from this last few years, the ones I've selected most often have Walton's name scribbled on the sleeve. 'Black Lotus' is a unique creative statement; I'm very proud to release it on Tectonic and to support Walton, who I believe is a true talent." Pinch

* On July 6th Tectonic recordings presents the game-changing second album by 26 year old Mancunian Sam Walton, better known as simply Walton.
* 'Black Lotus' follows his inclusion on Tectonic's landmark 100th release - Riko Dan's 'Hard Food' EP, plus the 'Praying Mantis'/ 'Koto Riddim' 12' (also on Tectonic) and the 'Taiko' EP on Kaizen - the latter two of which hinted at the album's sound, but didn't fully prepare us for the brilliance to come.

* Abstract electronics, grime, dubstep and new styles that don't even have a name yet coalesce perfectly on this classic in the making. It finds Walton at peak power, reaching just as far (if not more so) than anything on the Pan, Different Circles, Boxed or Tectonic catalogues for pure futurism and new-terrain-traversing brilliance.

* Spacious and modern sounding, with just the right amount of grit, on 'Black Lotus' Walton has taken things the next level - setting an impressive new high bar. This is the best music to take inspiration from far eastern culture since Photek's seminal 'Ni - Ten - Ichi - Ryu' and 'The Water Margin'.

* Cinematic may be a term bandied about too often, but on this record it unquestionably applies, with the whole thing playing out like an epic movie, full of highs, lows, action, reflection and changing scenes.

* The album kicks off with 'Black Lotus', which makes it quickly evident that this isn't just another generic longplayer; a weightless/sino style intro segues into a mystical kalimba line, which is then is enveloped by huge waves of synthesized, pitched-down brass.

* 'Point Blank' offers locked, harsh mechanical funk, full of aggravated excitement, before sleek, spacious grime and disguised pop garage achieve twisted anthem status, on the hugely satisfying 'Koto Riddim'.

* 'No Mercy''s Yakuza crime riff is perfect for Riko Dan's threatening menace, especially at the point his voice gets distorted into a guttral and unsettling, demon-like wretch.

* 'Mad Zapper' is abstract, comprised of simple yet challenging beats, tones and stutters, whilst 'Angry Drummer''s taiko/kumi-daiko style percussion has a rousing, heavy thump.

* 'Pan' sounds equally enthralling whether soundtracking a dark movie scene of impending danger, or carying enratptured ravers on a danceflor journey, especially one suited to the synapse-prodding drama of a high production, lazer-heavy festival set.

* Choppy drums and bouncy bass tones are laced with the georgeos melody of 'Ehru', and 'Vectors' is sleek 'n' deep breakbeat-garage-meets-IDM.

* Although already known for elements of musicality, Walton raises his game even higher with the beautiful closing track 'White Lotus', which has a wow factor akin to hearing Aphex's Twin's 'Jynweythek Ylow' for the first time.

* 'The title came from the idea that I wanted it to be sweet and melodic in areas, but dark and grimey at the same time', recalls Walton. 'I never really listened to much Japanese and Chinese music before working on this, and that element originally came from listening to a lot of Sino grime stuff. It wasn't until I was deep into the process of making the album that I started listening to loads of traditional stuff on YouTube for melodic ideas, which changed how it turned out. The whole dubstep techno crossover thing was also a big influence.'
* 'I'm really happy to have Riko Dan & Wen on there', he adds. 'I've done a few remixes of Riko tunes which have had a great response, so it's been wicked to get some original material done together. The track with Wen was first started a while back, so I'm glad it was finally finished and will see a release.'
* Walton has been steadily gaining serious clout through releases since 2011 on Hyperdub, Keysound, Tectonic and Kaizen, with supporters including Mumdance, Logos, Slimzee, Laurel Halo, Wen, Hodge, Mary Anne Hobbs, Giles Peterson, Paleman, Teki Latex, Commodo, Loefah and Kode9. Key club, festival and radio shows include FWD at Plastic People, Fabric, Outlook, NTS, Rinse and BBC 1xtra.

Augustus Pablo's monumental 1988 LP Eastman Dub is back! Showcasing a vital selection of Rockers dub attacks built on the classic 1978 album Tetrack Let's Get Started.' Originally recorded at Channel One and Harry J's and mixed by Sylvan Morris at Channel One. Another classic Augustus Pablo collection from the golden age of Rockers!

Pietro 'Bingo' De Lisi and Alex Carpentieri aka Italian duo System of Survival, have long been renowned for their raucous live cuts, the likes of which have firmly established their name amongst fans of discerning house and techno. Regulars at Ibiza institution, Circoloco at DC10, the boys knack for a tune has also brought them to the attention of respected label outlets such as Bpitch Control, Freak n'Chic, Moodmusic, Rawax and Get Physical. However, their latest release - released here via the emerging Deset Music - might just be their best yet. The label's inaugural release sees the boys perk up with two stunning originals and are back by remixes from none other than two Chi-town legends, Boo Williams and Ricardo Miranda.
Opening up the sounds of the release is 'Nu Soul Era'. A raucous, deep cut that displays all that's excellent about System of Survival, this one goes firmly down the rabbit hole in search of kicks. Characterised by its quite brilliant and catchy baseline, the action is dark and trippy throughout, with a firm emphasis placed on a groove that never lets its guard down throughout. A majestic start to the EP, it gets us underway with some distinction.
System of Survival's other original is 'Funky Left Funky Right'. Again, the duo expertly showcase their penchant for melodic structures, this time via a bleepy baseline that's perfectly suited to peak-time floors. Ricardo Miranda's interpretation goes deep and off-kilter, but remains true to the original's full-on characteristics. A stunning indication of the producer's eclecticism and studio mastery, it's an intoxicating take on a track that's never lacking in suspense.

Seeing us out the door is Boo Williams' remix of 'Nu Soul Era'. The 'Mortal Trance' producer can always be relied on to bring the heat in his own inimitable way, and he does so here with the sort of panache for which he's best renowned. Injecting the original with every more bounce, he wastes no time in getting down to business, setting his stall out via an acid-led, 909-flavoured remix that offers up a tantalising version of what's arrived before. An all-round stunning EP of various shapes and sizes, there's plenty here for fans of discerning house and techno to get stuck into on this one.

2x12" !

An der Grenze (ADG) is glad to introduce you to its 5th release "Talka" on 2 x 12" (ADG005) by Moscow- based composers, live performers & DJs OID & Anrilov, and revisited by Unbroken Dub.

Whereas OID, a versatile artist, has made a name for himself with releases on DJ Koze's PAMPA, Milnormodern and PNN, Anrilov releases here his first solo track. Unbroken Dub, for his part, already has a significant experience with multiple releases on Rawax as well as solo EPs on Delsin and Resonance Moscow, amongst others.

On vinyl 1, each artist presents his own version of "Talka". Whereas OID proposes a dark, mind-blowing and bewitching version, Anrilov opts for a rather cadenced, breakbeat and mystic one.

On vinyl 2, Unbroken Dub delivers two different interpretations of "Talka". On the A-side, his Refix is deep, linear and mystic whereas, on the B-side, his remix appears to be the best musical translation of his artist name: serene and dubby.

One of our humble imprint's closest allies and a longstanding pillar of Philadelphia's electronic music community, Billy Werner has been a constant presence in the booth at parties throughout the Northeast Corridor since 1998. We debuted his M//R alias in 2014 with the 'Gathering Response Data' 12" . Since he's been busy bringing the grit to points beyond the City of Brotherly Love, putting in work for the likes of DetailsSound, L.I.E.S. and JackDept. Most recently, he turned out a remix of Karen Gwyer's 'Why Does Your Father Look So Nervous' for the 'Rembo' remixes on Don't Be Afraid, as well as another for Chaperone's 'Grit Neglect' on the aforementioned 'SnapbackBalaclava'EP.

Written, recorded, and mixed over a period of 15 months,'Among The Methods' is in no small part a reflection of the affinities and sensibilities Billy holds as both selector and producer. Referencing a variety of influences from jazz to dub to electro, the album's allure stems from his deft ability to recontextualize those genres' disparate aspects into a familiar-yet fiercely idiosyncratic-musical context.The end result is at once wildly fractured and precision-focused as 'Among the Methods' finds its own seductive rhythm within a matrix of dub echoes and modulated low-end. It's heady ground,to be sure;as well as the most declarative aesthetic statement fromM//R to date.
Presented without further comment. The music is the message








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Newly signed to Rhythm Rollers, Mr. Wonderful & Technical J introduce The Boss, a 7' vinyl scratched masterpiece with outstanding production and a compilation of diverse and unique scratch samples to DJ/Producer to utilize.
This unique piece of vinyl has a 'Skip Proof' scratch side dedicated for the DJ/Producer with over 4.30min of vocals, drums, synths, bleeps and basses that can make any DJ/Producer standout from the rest.
The Boss is a live Studio scratch track that will have any crowd rocking.  Super low sub frequencies, punchy drums and ear pricking scratches that only Wonderful and J could produce.
Samples
Choosing the right samples for our record was the major focus for this release. We wanted DJ's to standout from the crowd, so spent considerable time getting vocalists and secessionist in the studio to record some very individual samples for DJ's to use.
Skip Proof Technology
'Skip proof' technology - is a way of recording scratch records so that they do not skip from one sample to another. This is achieved by first calculating the time it takes for one revolution of the record (1.8sec). Once you have this information you can then customise your DAW to that specific measure (133.3333bpm). Then layout your samples so they repeat at the start of each bar.
Extra Deep Grooves
The record plant cut extra deep grooves perfect for the more aggressive style of scratching we all love (these will not jump). Making sure the weight of the vinyl was correct giving that nice feel and long lasting audio sound.

Helsinki's We Jazz Records Presents "y-otis", The Debut Lp From Berlin-based Swedish Saxophonist/composer Otis Sandsjö, Joining Forces With Keyboardist Elias Stemeseder, Bassist Petter Eldh And Drummer Tilo Weber. The Album Is A Forward-reaching, Multilayered Collection Of Eight Originals Penned By Sandsjö And Produced By Sandsjö And Eldh. What You Get Is A Form Of "liquid Jazz", Born In An Era Where The Understanding Of Jazz As A Musical Language Has Evolved Way Beyond The Concept Of The Previous "modern". Informed By Hiphop And Electronic Music, "y-otis" Is Pure Jazz In That The Quartet Stays True To Its Constant Mission Of Creating A New Form Of Musical Communication. Sandjö's Circular Sax Riffs, The Album's Rich Production Touch, And The Chopped-up Jazz Form Creates A Musical Concept Which Stays Melodic And Beat-laden While Being "free" Right To The Edge Of Avantgarde. It's As If The Music Is Sampling Itself, Constantly Keeping Ahead Of The Curve In The Musical Lineage Of Jazz.

Otis Sandsjö (b. 1987) Hails From Gothenburg, Sweden. He Is Known Previously For Example For His Inspired Work On Singer Lucia Cadotsch's Globe-trotting Trio Formation "speak Low", Also Featuring "y-otis" Co-producer And Bassist Petter Eldh. Elias Stemeseder Was Dubbed One Of The Top 15 Young European Musicians To Watch By All About Jazz In 2017. Tilo Weber Ranks Among The Most Creative Young Drummers In The Scene. Stemeseder Is Currently Based In New York, While The Remaining Three Musicians Here Live In Berlin. Live On Stage, The Band Performing The Material On The New Release Is Called Y-otis.

2025 Repress

After a wildly successful collaboration on Thatmanmonkz's 'Turn It Out' from the LP, Columbus-ing, Dave Aju suggested they should continue their production streak for a new percussive tracks project. At the same time, Aju had finally kept his word to legendary Bay Area club/underground MC and personality, Foxxee aka Foxxee Brown aka Lawrence Petty, to work on a track together as well. Petty being a core part of the infamous Ya Mama's House radio show on 106 KMEL alongside Pete Avila and David Harness that introduced legions of young Bay Area DJs to real House Music, includ-ing Aju, in the early 90s. While Aju & Monkz had originally been working on more of a slick club romance narrative angle over some robust tumbling drums, some very tragic news had struck their hometown - at an under-ground event in Oakland California, more than 30 people including many dear friends and stalwarts of the local dance music community had been trapped inside a building and killed in a fire that broke out while doing what they love, in the now-infamous Ghost Ship. Lawrence and Aju immediately acknowledged and agreed that the track should serve as a tribute to the event and the loved ones affected by it. But decidedly, rather than it being a solemn requiem of sorts, it should reflect the communal power, strength and uplifting spirit of the underground scene they all helped build and knew so well. At first entitled They Sleep We Live, a representative reference to the iconic arm tattoo of the late Jonny Igaz aka Nacht, one of the more well-known and active DJs whose life was lost that tragic evening, and a lyrical direction idea for Lawrence for a direct tribute to the SF Bay Area scene,

Winter thaw marks the return to Furanum of Uncto, the Silesian dyad Domink Muller and Rafal Furst, with their first full release of collaborative material since 2013's seminal FU009. Like its predecessor, Unctuous offers four cuts of viscerally engineered and rhythmically exacting dystopias, each ably situated within a striking 'synth-etic' narrative. It is this latter aspect of each arrangement that perhaps most noticeably demonstrates the pair's singular and evolving approach to composition, born out in the calculated emphasis on hardware-based expressionism.

The opening title track stands as a testament to the above: while deceptively sparse at the outset, its ponderous advance, both heavyset and indomitable as it gathers pace, is framed in the midst of an unfolding panorama of stark analog wails. Further interspersed with resonant timbres more akin to the vocalizations of some hell-beast luring its prey, the eponymous behemoth ingratiates its listener, beckoning submission to its will with the promise of exhilaratory assimilation. Such a hive-mind state attained, exhilaration does follow, yet so does a concomitant loss of agency, leaving one thoroughly subjugated and enslaved to its cadence. Perhaps as a manifestation of dramatic resistance to such a fate, 'Trust No One' daringly defies the impositions of its predecessor. Instead, it animates and emboldens the beholder through its rhythm, ineluctably driven by a sense of accelerating linear intensity. Thus arriving at a climactic percussive build whose isochronal blows shatter any remnants of doubt, angst transforms into raw conviction as one is propelled into a delirious realm of solipsistic certitude.

Situated amidst the foreboding sound of blade clashing with blade, 'Cold Knife', on the other hand, is driven by an entirely disparate off-beat progression. As its anticipatory rhythmic thrusts cut through an advancing fog of shivering drones with frigid precision, one seemingly undergoes a cyclical plunge into a state not unlike one marked by the visceral dopaminergic rush of contact with extreme cold. Finally, 'Metzgers Tochter' ('Butcher's Daughter') closes the EP with a ruthless exploration of the contrast between the gruesome and the feminine. In a similar way to the opener, the track's meter is staggered and undulating, yet also steadily punctuated with breathing room between its crushing blasts. Such scenery thus serves as a canvas for the expression of the titular character's 'beauty and the beast': a paradoxical synthesis of attraction and aural brutality, held in tension by the unceasing throbbing of the composition's beats.

Mastered & cut by CGB at Berlin's Dubplates & Mastering,

On A side, electronic music wizards Kompozyt team up with a Dub Legend Lee 'Scratch' Perry to bring you a heavy-hitting and instant bounce-inducing Dub Techno track 'Hidden Force'. Lee Scratch Perry's amazing and charismatic Dub poetry blends superbly with the neat fusion of spacey and subterranean sounds of Kompozyt productions. The single is not to be missed this summer.

On B side, Kompozyt brings you a 7' version of 'Homesick' - Dub and Trip-hop inspired Experimental Electronica with Olgierd Dokalski on the trumpet. Olgierd's incredible performances of real haunting beauty further reinforce the analog, live and improvisational aspect of Kompozyt's music.

Both tracks come from Kompozyt's debut album: 'Synchronicity' - out everywhere now on CD and DL.


Selected Reviews of Kompozyt's Debut Album and the Single

5/5 Decoded Magazine: 'Incredible album 10/10'

4/5 Lars Berhenrot (Deepershades): 'LOVE THIS .. never-ending deepness ..'

5/5 Pierre Ravan: 'Amazing work from the heart'

5/5 Queensradio.org: 'I'll definitely be playing these guys on air'

4/5 Garth Trinidad (KSRW Radio) 'Exquisite score without a film'

5/5 Hoxton FM (London): 'Incredible release!'

4/5 Stereo MCs: 'Nice vibes refreshing'

4/5 Robert Babicz: 'I love dub. in all forms'
5/5 Adam Hannibal (Balanced) : 'Neat fusion of spacey and subterranean sounds. Reminiscent of the Beyond Recs Ambient Dub compilations with some freshness... Well done'
5/5 Al Bradley (3amrecordings): 'This needs full love because it's excellent :) I can really picture myself just letting this play from the first sound to the last & becoming utterly immersed as it flows through! Gorgeous.'
5/5 Bartlomiej Blesznowski- 'One of the best electronic music albums this year'
4/5 Neil Brown (RMFM; Pro Mobile Magazine): 'Some nice tunes to get your head in gear to.'

5/5 Jorn Kirk (DJ Jay Kay) (Faith Sundays): 'very nice album !!! a joy to listen to'

"it Sounded All Right Through Two Walls, So What's The Problem" The Final Words Of 'two Walls', The Fast And Very Catchy Leading Track Of Dj Marcelle's New Record, Sum Up An Aesthetic Almost Lost In Today's Musical Climate, Where Often A Pleasing Attitude And Overproduced Music Sadly Rule, Even In So-called 'alternative' Circles.The Quote Comes From The Late Mark E. Smith (1957 - 2018), Legendary Frontman Of The Fall, And Is Taken From Some Of The Conversations Marcelle Had With Smith Over The Years. Smith Is Referring To A Recording Process But For Marcelle His Words Stand For Something Bigger.Although The Fall Have Been With Marcelle During Her Whole Musical Life (which More Or Less Started In 1977 During The Punk Wars) And She Has A Deep Love For Their Music, It Was Especially Smith's Attitude That Inspired Marcelle.Smith Was An Iconoclast, A Surrealist Dadaist Breaker Of Conventions In Music And Art More Generally. A Magically Creative Individual, A Brain-twisting Wordsmith. An Attacker Of The Pretentious And Dishonest Elements In Society And Music Scenes. An Autodidact Whose Singular Vision, Fired By Both Humour And Sharp Observation, Found A Voice In A Body Of Work Unlike Anything Else.The Day After Marcelle Heard Of Smith's Passing She Created A New Track, Lauding Smith, Whose Name Was An Institution In Itself: Mark E. Smith! Therefore, The Repetitious Use Of A John Peel Sample Pronouncing Smith's Name Celebrates The Life Of This Totally Unique Artist.This Track Opens With Another Smith Quote: "you're Probably Right, Marcelle". And Indeed, The Dutch Producer / Dj Shares Many Of Smith's Attitudes In That She Tries To Stay True To Herself, Doesn't Think Too Much About Audience Expectations And Always Tries To Stay Ahead Of The Public. 'punky' Energy Combined With The Avant-garde And Always Going Forward With Fresh Productions And Dj Sets. To Make And Play Music Which Reflects The Present And Doesn't Rest In The Comfort Zone Of One Dimensional Party Music.There Are Five More Versions Of 'two Walls' On This Ep, But They Differ So Much From The Original That You Can Count Them As Different Tracks. 'dubai Muezzin Dub' Was Partly Recorded In The United Emirates When Marcelle Played There Earlier In 2018. 'problematic Dub' Is Pure Industrial Techno Torn Apart By The Wildest Dub Effects, Its Coming And Going Of Sounds Equals A Ride In A Calypso. 'studio Door Dub' Celebrates The Repetition Of The Fall And The 'emerson, Lake & Palmer Symphony Dub' Is Both Pure Avant-garde And Hilarious Fun. And Belp, Who Owns The Jahmoni Label, Comes With A Wicked Abstract Noise Remix. The 'for' Ep Is The Fourth (get It) Vinyl Release Of Marcelle On The Munich Label Jahmoni Since 2016. As Always, Sleeve And Label Are Very Colourful. Both Labels Show Special Photos: On One Side We See An Old Picture Of Smith Embracing Marcelle, The Other Side Depicts The Label Of A 1985 The Fall Test Pressing That Once Belonged To John Peel But Which Was Stolen Out Of His Car In Amsterdam. Later Marcelle Found The Record On A Flea Market, Recognising Peel's Handwriting. "when I'm Dead And Gone" Smith Sang In The 1979 Song 'psychik Dancehall', "my Vibrations Will Live On, In Vibes On Vinyl Through The Years. People Will Dance To My Waves."Now We Can Listen And Dance To A Vinyl 'for' The Incomparable Mes, Made With Total Commitment And Which - Like The Fall - Defies Comparison.

1976 rare dub album consists of robust Techniques rhythms dismantled and reconstructed by King Tubby to its perfection. Long-expected reissue of one of the most sought after dub albums.

Following on from the release of FBA21 Collected Works 1996 -2017, which was released November 2017 Matthew Puffett decided to wrap up the project, with a handpicked selection of artists to remix key tracks from the compilation. Amongst these figures are some significant influences on Puffett`s early years The set includes Kirk Degiorgio, whose reworking of 'Cross Dissolve' reimagines the track in full machine mode, serving up a slab of driving techno for the main room. A fan since the early 90s, Kirk and Matt have been in contact over the years, culminating to this powerful re-creation. Steven Rutter (B12) has also reworked 'Cross Dissolve', but in contrast to Degiorgio, Rutter's mix brings out an almost abstracted, ambient mood, a characteristically expressive and textured piece from one of the leading figures in UK electronica. Hardway Bros, Sean Johnston (Andy Weatherall's partner in 'A Love From Outer Space) tackles 'Mourning', a piece of melancholic euphoria. In typical Johnston style, Sean slows it all down, bringing it to a mid-tempo Balearic vibe. A big influence on Matthew in the 1990s, Lee Grainge used to work at the infamous Fat Cat records. A renowned arbiter of sounds, Grainge turned Matt onto countless records from Detroit and beyond, which was crucial in shaping FBA's sound. Here, he remixes 'Diagram', in a manner reminiscent of classic dub techno, Basic Channel. Another influence on FBA's sound is former Eevo Lute Muzique boss from Eindhoven, Stefan Robbers. FBA recorded a mini album for EevoNext in 2009, and the pair team up again here to reinvent 'Machines Can Help'.

It shouldn't come as a surprise that Applescal is the next in line for a release on DGTL Records, seeing as he has been part of the crew since day one, with multiple appearances at their shows to his name. The Atomnation label-head crafts out three tracks all coming from one single studio jam, aptly naming them Harmony One, Harmony Two and Harmony Three. The record is a special one for Applescal himself as well, as it's his first full EP in two years.

The EP starts off with Harmony One, a dubby and bass heavy track with a subtle vocal sample. It steadily builds up towards a more energetic part with synth stabs and heavy snares, while the pads in the background still make it keep its atmospheric feel. As all three tracks come from the same studio jam, it's obvious that this was the start of the jam, serving as the basis for the other two tracks. The second one, Harmony Two, was previously part of an Atomnation sampler and received a lot of great feedback, as well as airplay from a few big names in the industry. It builts around an arpeggio that playfully progresses and intensifies towards the break, where a raw synth is layered on top for the climax. With a more subtle bassline, but multiple rhythmic elements that add a proper swing, it makes an essential peak-time tune.

The flipside brings Harmony Three, which distinctly sounds as the final part of the studio jam. Hard hitting synth stabs and a rolling bassline set the track apart as the heavier hitter of the three, while still clearly building on the overall theme. It features an arpeggio that progresses along the break and into the main part, with sharp drum samples and tense synths. It wraps up this release perfectly.

Paul Dickow Aka Strategy Is A Musical Polymath With A Signature Sound Derived From His Immersion In Hardware-based Electronic Music. He Has Spent Close To Two Decades Traveling Freely Through House, Techno, Rave, Noise, Ambient, And Sounds More Difficult To Categorize. Strategy's Sound Is Inimitable Because It Is Literally Built By Hand - His Hands. Through All Of This Sonic Journeying, Including Multiple Full Length Releases, A Constant Has Been His Love Of Reggae And Dub, Yet Somehow A Proper Dub Album Has Never Emerged - Until Now.

After Two Much-loved 7' Singles On Zamzam - To Say Nothing Of Dubwise Excursions On Idle Hands, Shockout, Peak Oil, 100% Silk And More - dub Mind Paradigm' Is The Fulfillment Of A Clear, Simple Goal. "i Set Out To Make A Full Set Of Dub Tracks Good Enough To Make An Album -- Something That Had Always Eluded Me-- And It Worked, Finally. A Simple Exercise In Seeing If We Could Launch The Capsule To Orbit Planet Reggae And Make It Home Again.'

Reaching Planet Reggae, The Album Explores Analog Caverns Of Dubwise At All Tempos, From The 80s To 140, Full Of The Ghosts Of Ancient And Future Technologies, Glimmering Shards Of Hope Among Heaps Of Folly, Ruin And Rubble. Music Fans With Crates Deeper Than The Contemporary Will Find Shades Of Wackies, Firehouse, Unity Sound, Burial Mix And More, But Only Winks And Nods... No One Sounds Like Strategy, And Strategy Sounds Like No One.

Mastered By Sam Precise.

Art & Design By Polygon Press.

Distributed By Unearthed Sounds Ltd.

Limited To 700 Vinyl Lps - No Repress, No Digital.

Music Mania and Indica Dubs is proud to present the third release in their Mania Dub series. Following the classic 'Almighty Dub' (MD001) and 'Rastafari' (MD002) comes another of the UK Dub scene's most renowned producers; The Bush Chemists, with one of their most popular anthems from 1996: Light Up Your Spliff. Douglas Wardrop began creating music using a 4-track recorded in 1989, before forming The Bush Chemists in 1993 with Paul Davey and Culture Freeman.

7"

A ludicrously rare outing from Jah Rej and the Jah Works crew appearing on vinyl for the
first time.
.*Dating from 1989, `Carrion Bird' has only previously surfaced on the cassette-only various artists set `One Foundation' released on the Jah Works label.
*A deep meditative instrumental (apart from a hint of Donette Forte's voice drifting into the mix) dropping on a moody head-nodding mid-paced rhythm.
*Backed with `John Crow' a retrained dub mix by Rej from Channel One UK studio.

Repress

Micah Shemaiah Teamed Up With Fruits Records' Studio Band The 18th Parallel Earlier This Year To Produce The Unanimously Acclaimed roots I Vision' Album On Evidence Music Label. The Album Hit Every Charts In The Reggae World And Is Seen As One Of The Best Effort Of 2018! In Collaboration With Evidence Music, Fruits Records Is Proud To Release On 12' Maxi Vinyl Two Of The Toughest Tunes Of The Album In Their Eight Minutes Extended Versions : A Side Features Heavyweight Stepper zion Trod' And B Side Gives The Rub A Dub Anthem soul Rider'. This One Is A Sound System Must Have! Killer Tunes + Ultra Heavy Pressing In A Early 80's Jamaican Simmons Style!

Norm De Plume has been quietly making a name for himself the last eight years with remixes for Tornado Wallace and Ben La Desh and EP's for Kolour LTD and his own vinyl only imprint Plumage winning him a solid fol- lowing along the way. His passion for all things disco and deep, dubby, un- derground house inspired by his musical hero Ron Hardy feeds through into his production style as well as his recently formed Peaches & Prunes party which boasts an audiophile sound system and vinyl-only sets from the DJ's. So when the opportunity arose to do a full EP with Norm we jumped at it. Here we present you with the Castlecrag EP, a nod to the Londoner's new adoptive home of Sydney, Australia, and whilst his sound may be more akin to the recent musical movements of Melbourne, the laid-back sun-kissed melting pot of The Harbour City certainly shine through in the two originals and Folamour remix on offer here.
Title track Castlecrag leads the charge with a deep mood-setter driven by a cowbell riff and filtering pads. The spacious mix and less is more arrange- ment ensures that the drums and rolling bassline punch through making for a track that sounds both unique yet accessible and demonstrates Norm's sense of musicality as well as DJ instinct for setting the right mood on the dancefloor. Next up we have Whole In One which treads a similar path whilst dropping the BPM's a touch and building up layers of synth strings to create a subtle yet engaging track to immerse yourself in. Finally, man of the moment Folamour gets busy on the remix of Whole In One working his magic by upping the tempo and going heavy on the jazz- inspired drums. By laying down a driving groove and pushing the string stabs to the fore, the Lyonnais producer behind the wonderful Moonrise Hill Material label has delivered a fresh-sounding take that will work like magic on discerning dance floors out there.